[Under Construction: Partially updated for the Tenth Anniversary of markcrimmins.com]

[Updated briefly on 10 September 2021, but this list is still very incomplete]

Christopher Allen. Christopher has been supportive and helpful regarding my submissions to Metazen, and he was also the guest editor who chose "Solstitial" (blind) for the International issue of New Zealand's Flash Frontier.

Kristyn Bacon. Kristyn was the first editor to reach out to me and ask me for a story, based on her reading of my published work. I'm very grateful to her for publishing "Shiretoko" in the first issue of the magazine she founded, Berlin's Trainless Magazine.

E. B. Bartels. Her acceptances and publication of "Illusion of Depth" and "Sea of Glass" in Columbia's Catch and Release were important breakthroughs for me, especially in the publication and dissemination of my flash fictions.

Bayard. New York's Bayard was the first editor to publish my fiction and the first to invite me to read publicly from my work, back in 2005. His words on my submission, "This is so excellent--exactly what we're looking for!" signalled the beginning of my career as a fiction writer. He published two of my early flashes in the journal he founded, Happy.

Yeow Kai Chai. Kai Chai accepted and published my Korean story "Seokguram" in Singapore's Quarterly Literary Review Singapore. This was a hugely appreciated gesture from the Singapore poet.

Ian Chung. As the editor who published "Lines Written on a Mall Parking Lot Bench in Mesquite Nevada" and "Montreal Refraction," in Eunoia Review, Ian has been an important editor for me.

Gloria Cronin. As the editor of the Saul Bellow Journal, which she founded, Gloria accepted and published both of the major critical articles I have published to date on Saul Bellow. Since the two articles amount to about 18,000 words, she is also the editor who can claim to have published more of my writing than anyone else. The publication of both articles was a huge contribution to and is the foundation of my career as a published scholar.

C. Michael Curtis. While he never published one of my stories in The Atlantic, C. Michael Curtis's personal letters to me about "Radinsky," "What Every Man Needs," and "The Desiderative Infix" were a huge encouragement of my work early on. I got my first letter from him in 2002.

Michelle Elvy. Michelle was hugely supportive of my work, publishing two of my pieces, "Chiricahua" and "Solstitial" in New Zealand's Flash Frontier, the journal she founded.

Crystal Gibbins. As the editor who published "Big Baby Moses" in Split Rock Review, Crystal played a big role in disseminating my work. Crystal also has a hugely positive attitude to her writers.

Anna Godbersen. Her feedback on and encouragment of my work, based on my submissions to Esquire kept me going for years. For a long time she was the only person who encouraged my work.

Suzanne Kamata. Suzanne accepted my story "Awa Odori" for publication in the Kyoto Journal. This was my first acceptance for publication in Japan. Suzanne was also very supportive and positive in previous interactions with me about earlier submissions, providing feedback and encouragement.

Daniel Caplice Lynch. As editor of New York Stories, DCL was one of the first to recognize my writing. His comments on "Slimer" and subsequent submissions kept me going in 2003.

Elizabeth McKenzie. As fiction editor of Chicago Quarterly Review, Elizabeth brought out the very important title story of my collection, Characters Madmen Alone Can Read, which I'm hoping will aid the collection's final publication as a book in the not too distant future. Elizabeth also published a second story of mine, "The Einstein Effect," another important stage in my publishing career. Working with Elizabeth has been a wonderful experience. I have found her extremely gracious and wonderfully supportive. It's been a real pleasure working with her.

Adrienne Miller. The letter she wrote to me about "Slimer" in 2005, when she was literary editor of Esquire, was a big encouragment and lift for me. 

Kari Pilgrim. I must thank Kari for bringing out a piece that is dear to me: "Into the Valley of Death," in the Del Sol Review. The story is due out in the issue that's being published sometime in August 2017.

Matt Potter.  Matt was the editor who accepted my first book, Sydneyside Reflections, for publication. Working with him as an editor on preparing this manuscript and bringing it out was an extremely positive experience. It was also very educational. Matt worked very closely on the manuscript and had an amazing editorial eye. It was a privilege to work with him on my book, and I'm very grateful to him.

Josh Raab. Josh has been key in supporting and publishing my work at theNewerYork, for which I am very grateful. He created a venue where my more radical formal work could reach an audience: huge!

Rocky Rakovic. His letter to me about "Characters Madmen Alone Can Read," back in 2005 when he was still an editor at Playboy, was a huge encouragement.

Sam Rasnake. Working with Sam in bringing my little story, "About the Author," to publication in Blue Fifth Review was a real pleasure, and I feel fortunate to have become Facebook friends with him, to feel his wisdom and insight and broad-ranging intelligence and to be educated by him continually in the never-ending process of discovering and celebrating writers new and old.

Lucy Raven. Her comments and responses to my submissions to Bomb encouraged me for years when I was starting out.

Cynthia Reeser. Cynthia's edit of "What Charlie Said" for the Tampa Review publication of that piece was rigorous and ultimately helped the story. I found she could see things I couldn't, and she had a very sharp editorial eye! Cynthia became a unique editor for me when, as editor of Prick of the Spindle, she published two more of my stories,  "Bear Hug and Snake Bum" and "Thief of Holes." This makes her the only editor who has published my stories in two different magazines.

Joanna Semeiks. As the editor who accepted and published "Slimer" in Confrontation in 2010, Joanna was responsible for a huge breakthrough in publishing my work and getting my entire career going.

Chuck Young. Chuck is my hero. He did the impossible edit on "Cryptograph" and was the man who also worked on "Yanagawa" and (I assume) "Hong Kong Labyrinth" at theNewerYork. Some credit for the final appearance of "Cryptograph" must also go to Chuck. I actually don't know any other editor who would have endured those crazy edits, at least for a totally unknown and very (at the time) little published author.

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